Volume 28 Issue 4 | February - March 2023

teams of writers and composers
in-depth support and mentoring
while they create new 30-minute
musicals. For the first edition
of Retold in 2019 the new
musicals were inspired by articles
published in The Globe and Mail,
and performed in that newspaper’s
headquarters. This new
edition is inspired by three short
stories by lauded Canadian writer
Mavis Gallant (1922-2014) and
Kaylee Harwood
will be performed at the Toronto
Reference Library. While much of
her working life was spent abroad in Paris, Gallant is famous for her
depiction of Acadian history and life in Quebec. One of the chosen stories,
The Carrette Sisters, displays in particular what The New York Times
called Gallant’s “Joycean evocations of a mundane haunting Montreal.”
All three shows will be directed by Kaylee Harwood and will feature
a cast of four talented actor/singers: Eric Craig, Emily Lukasik, Tracy
Michailidis and Starr Domingue.
Retold March 21-26. Tickets are free but need to be booked ahead
of time. www.musicalstagecompany.com
QUICK PICKS
FEB 2-11, 7:30: The Magic of Assembly, Toronto Dance Theatre,
Winchester Street Theatre. TDT Artistic Director Andrew Tay is
making a strong imprint on the company, introducing new and raw
influences to the repertoire, including this new creation by punk
street dance artist Ashley “Colours” Perez and electronic music duo
LAL who will play live.
FEB 4-11, 7:30: Okay, you can stop now, Theatre Passe Muraille.
In an immersive landscape filled with newspapers, Shakeil
Rollock’s new physical theatre piece explores the tangible impact
of history and the news on the lives of four people navigating their
relationship to privilege and power. www.passemuraille.ca.
FEB 16-19, 7:30: Firewater Thunderbird
Rising, Friday Creeations and Native Earth
Performing Arts, Aki Sudio. A return
engagement of Christine Friday’s Dora
Award-nominated multi-disciplinary
one-woman, contemporary dance show,
deeply rooted in the spiritual beliefs and
way of living of the Anishinabek.
www.nativeearth.ca.
Christine
Friday
Toronto Dance
Theatre
FEB 24-25 7:30: Les corps avalés. Compagnie Virginie Brunelle,
Fleck Theatre, Harbourfront “Torque” series, The celebrated
Quebec-based company presents a stunning exploration of power
relations, inequality and social upheaval, performed to live classical
music from the Molinari Quartet. www.harbourfrontcentre.com.
Jennifer Parr is a Toronto-based director, dramaturge, fight director
and acting coach, brought up from a young age on a rich mix of
musicals, Shakespeare and new Canadian plays.
MARLOW PORTER
JOHN LAUENER
CLASSICAL AND BEYOND
Instant Kinships
TRIO ARKEL
in Conversation
PAUL ENNIS
Trio Arkel – Marie Bérard (concertmaster of the COC
Orchestra), Rémi Pelletier (associate principal violist
of the TSO) and Winona Zelenka (assistant cello of the
TSO) – are celebrating the tenth season of their concert
series and we at The WholeNote were curious about how
a string trio could thrive despite obstacles ranging from
COVID-19 to the departure of founding member, violist
Teng Li. The following email conversation with cellist
Zelenka and violinist Bérard, took place in mid-January.
WN: What was the origin of Trio Arkel? What brought you two
together originally with violist Teng Li?
Winona Zelenka: It was a kind of synergy that was surprising when
we played our first concert back in 2008 at the same venue we play
in now – Trinity-St. Paul’s – before Jeanne Lamon Hall was built. Our
combination was an experiment, but we found that our three points
of musical expression combined in an interesting way, and I think we
were intrigued.
Marie Bérard: Gradually we came to realize that we wanted to spend
more time playing together but also collaborating with other musicians
and the idea of having our own series was born. In 2013, ten
years ago, we started out in the Church of the Holy Trinity next to
the Eaton Centre, in the heart of the city, and we were there for a few
years before switching to St. Paul’s Centre.
When did Teng Li leave the group? Please describe the search for
her replacement.
MB: Teng won the extremely coveted position of principal viola in the
Los Angeles Philharmonic and although she had such strong ties to the
Toronto music community, she couldn’t pass on such an opportunity.
WZ: Yes, it was in 2018, and it was a difficult thing for us, much as we
were thrilled for her to win such an important post. The delicate balance
and ease we had achieved was special, we felt. We played with many great
musicians while we worried about finding that ease again. But then…
MB: Rémi came to the Toronto Symphony from the New York
Philharmonic; for him it was a return to his Canadian roots. We read
trios with him soon after, feeling an instant kinship, and we haven’t
looked back. Our rehearsals are filled with good cheer and mutual
support and we are all aware of how special a gift that is.
WZ: There is a unique warmth to our sound, we feel, and lots of
joking around and talking about adventures, especially his. He has
many interests – he’s a sushi chef and an enthusiastic traveller – he
gives a lot as a person and as a musician.
How did you cope during COVID? What was the experience of
pivoting to an online video format for two years like for you?
MB: The first casualty of COVID was the cancellation of our
18 | February & March, 2023 thewholenote.com